Patricio’s “Close-Quarters” featured in Art-Verge.

Digital Media Art-Verge which focuses in introducing young & emerging artist, featured Patricio’s dance film “Close-Quarters”, reviewing the film and the artists work.

Article can be Read HERE.


“Proximos: Patricio Soto–Aguilar’s New Video Captures A Powerful Multisensory Performance

Written by Yannis Kostarias, article delves deeper in Patricio’s latest work and collaboration with choreographer Marco Orellana and Music composer Giacomo Picasso.

An imaginative and powerful multisensory performance, Proximos (Close Quarters), presents a group of dancers who gradually emerge within a limited space in this 13-minute video. Body movements, evocative light installations and original music score are the fundamental elements that explore the idea of dance. The whole action takes place in an empty closed area that is reminiscent of an isolation room. While the industrial environment creates a mystery for the viewer, the action only transpires within this controlling area. The direction characteristically concentrates on the dancers’ movements whose technique seems to be perfectly linked with the music, scored by Giacomo Picasso. A connection between body expressions and music is already perceptible in the first moments of this performance..

Before this extensive and successful trajectory, it is necessary to highlight a reflection centered in the fact that any dancer that witness his dance films will notice that it does not necessarily exist a correspondence between his knowledge regarding human movement, fluidity and the scenic presence what can be seen on screen. On this accord, in the work of the filmmaker not only effectively trained bodies are shown, but there is also a narrative that allows the interpretation of his creation, feature that attracts attention. Particularly is indispensable to highlight his precision and the rigour with which subtle small gestures are shown through close up shots, emphasizing the video. This is probably related with the methodology that the author has been shaping in his work. Since the beginning he explored and inquired into his role as a director, in terms of the body, the movement, and dance as a limited and concrete space of creation, with its internal logics as how to structure processes and work. Therefore, he proposed to incorporate the camera also in rehearsals. Also, friendship and trust were key to situate improvisation as a creative resource that guides the whole teams work.

With two high school friends he shared his passion for performing arts, both of them actresses and Patricio interested in movement being portrayed on screen.

In 2011 he began to think how to structure an original idea in a short film with dance in it. They travel to Algarrobo and films his first short film “The Tree-Lined Avenues and How I Lost”. It is fundamental, that he recorded all of the rehearsals, the camera was used to film the improvisations and by reviewing the recordings, Patricio would communicate what movements work so can be fixed, and from there choreographic works is directed towards a new improvisation.

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